Banned for decades in its native Japan,
director Teruo Ishii's Horrors of Malformed Men is
considered a landmark of Japanese horror, in particular the "Ero
guro" (erotic-grotesque) genre, which combines horror with bizarre
sexuality. Based off the literary works of author Edogawa Rampo,
Horrors of Malformed Men is a surreal, psychedelic fever-dream
of a movie, where logic and neat, tidy story progression are set
aside in favor of a more dream-like atmosphere. While decades of
increasingly extreme horror movies, both from Japan and elsewhere,
have muted the film's shock value, it remains a uniquely bizarre
film.

The film's surreal tone is set right
from the very beginning, with young medical student Hirosuki Hitomi
(Teruo Yoshida) finding himself in a jail cell with several raving,
topless women (there's a lot of these in the film) with no memory
of how he got there and only a fragmented idea of who he really is.
Several thoughts haunt Hitomi's mind, including a mysterious dark
room, a strange, animalistic figure crawling over Oceanside rocks,
and a haunting lullaby. Desperate to find out what all these things
mean, Hitomi escapes his cell and finds his way to a small seaside
town, where he discovers that he is a seemingly exact double of the
recently deceased head of a powerful local family. What's more,
both men share the same scar of a swastika on their bodies. Taking
the dead man's identity, Hitomi infiltrates the man's family, and
after a series of increasingly strange events, he eventually makes
his way to a secluded island where horrifying experiments are being
conducted on people, turning them into grotesque, animalistic
hybrids. But the shocking revelations don't end there...

Given the subject matter, comparison's
can be made to H.G. Wells classic The Island of Doctor Moreau,
but make no mistake, Horrors of Malformed Men is far from a
rip-off. Hell, it would be a stretch to even call it an homage.
Though both stories deal with the creation of horrifically mutilated
half-humans, Ishii's film is ultimately not interested in the
philosophical questions Wells asked in his novel. Instead, the story
is merely the backdrop to Ishii's theatre of the bizarre, which
includes naked women swimming and being fed like fish, an actress
eating live crabs off of her dead lover's body and even a surreal,
out of nowhere dance sequence (yes, you read that right). Ishii also
saturates flashbacks in extreme reds and greens and uses jump cuts
and freeze frames to add to the film's psychedelic freak-show
atmosphere. To top it all off, almost the entire last half hour of
the film is dedicated to an escalating series of twists and
revelations that almost borders on a parody of shocking twist
endings. This all adds up to a jumbled, scattered film, but that's
all part of its bizarro charm. And really, would you expect a film
that has a mutated pair of Siamese twins to feel slick and logical?

People watching Horrors of Malformed
Men expecting a lot of gore due to its notorious reputation may
be disappointed, because aside from a few flashes of blood here and
there, the film is pretty light on the red stuff. Even the final,
over the top gore effect which ends the film is rendered more surreal
and absurd than graphic. Still, given the film's copious amounts
of female nudity and subject matter which touches upon everything
from cannibalism to incest to body horror (among other such wholesome
things) I can imagine mainstream audiences in 1969 reacting with
disgust. Although it won't be nearly as shocking to people today,
it's still definitely a warped experience.

Special mention must go to actor
Tatsumi Hijikata, who plays the crazed doctor conducting the
experiments. Peering through a mess of long, straggly hair and clad
in a flowing white dress, Hijikata twists and contorts his spindly
limbs into unusual shapes and delivers his lines in a guttural bark,
a mad glint ever present in his eyes, and his performance is easily
the most memorable and entertaining of the film. As Hitomi, leading
man Teruo Yoshida is much more restrained, the expression on his face
almost permanently set to a combination of steely-eyed determination
and confusion. Rather than detract from the movie though, Yoshida
instead acts as a much needed counterpoint to the madness around him.

Horrors of Malformed Men is not
without its faults, with Ishii's pacing dragging a bit during the
film's mid-section when Hitomi is trying to infiltrate his
doppelganger's family. Fortunately, the film picks up again once
Hitomi makes his way to the island and manages to keep its momentum
until the end. Additionally, many of the film's make-up effects
have not aged particularly well, the quality level being roughly
comparable to the original Star Trek series. In many cases, the
malformed men of the title are depicted with little more than a coat
of body paint. While this isn't much of a problem for background
characters, it dulls the intended impact of some of the more
prominent freaks like Hijikata's character. He's supposed to
have deformed hands, but most of the time it looks like the actor
simply dipped his arms in a bucket of plaster before the camera's
started rolling. None of these flaws are enough to completely derail
the film, but they also prevent it from taking that extra step from
being perversely outlandish to truly disturbing.

Given the increasingly shocking,
depraved films that Japan has produced in recent decades, modern
lovers of blood and guts cinema seeing Horrors of Malformed Men
for the first time might wonder what all the fuss is about, but it
nevertheless remains an important building block in boundary-pushing
Japanese cinema, and it must have been truly baffling to people who
saw back when it first came out. Without it, there may very well be
no Tetsuo: The Iron Man, no Audition, and no Ichi
the Killer (or a lot of Takashi Miike's work, come to think of
it). While it definitely won't appeal to all (or even most)
tastes, Horrors of Malformed Men remains essential viewing for
both scholars of Asian horror history and cult film fans with a taste
for the bizarre.